De Colorando Auro: Experiments and literature study of medieval colouring recipes on gilded plates

De Colorando Auro: Medieval colouring techniques researched using modern analytical techniques

“…Most of the research was done on the 2D model samples shaped by lamination. 3D samples, shaped by the 'repoussé' technique 11 , are closer to the historical samples with respect to metallography. This second type of model sample is needed to link the model samples with historical reality.…”

“…-they need to be representative of the real medieval samples originating from the Mosan goldsmith art samples 11 , both in composition and thickness.…”

“…Recent studies and measurements performed on the statuettes of the Holy Lady Shrine showed that the thickness of ancient fi re gildings is between 3 and 30 µm 11 . Both 2D and 3D model samples were developed.…”

“…The recipes studied in this research describe (i) the preparation and (ii) the application of a mixture. The main difference between the recipes is the composition of the mixture 11 . We showed that one could modify the surface colour of 24-carat gilding on a silver substrate by applying deciphered medieval recipes 2 .…”

Electrochemical analysis of gildings in Valencia altarpieces: a cross-age study since fifteenth until twentieth century

“…playing an important role because of its economical and symbolic values [1,2]. The use of thin laminas of gold for decorating parts of altarpieces and polychromed sculptures [3], furniture and painting frames [4] and architectural ornaments (ceilings, columns, pilasters, cornices, etc) [5][6][7] in churches, palaces and mansions was an extended practice since the Middle Age, involving specific techniques for the preparation of the gold leaf [8][9][10][11]. In the Valencian Community (Spain), this artistic technique was extensively used between the 15 th and 19 th centuries and the gold beating process was regulated since the 17 th century, differentiating the jobs of painter and daurador (gilding craftsman) [12,13].…”